Author Archives for Natural Sciences Collections Association

Putting Natural History Museums to Work for Human Rights

Written by Henry McGhie, Curating Tomorrow, henrymcghie@curatingtomorrow.co.uk.

Every year, 10th December is commemorated as International Human Rights Day, the date when the Universal Declaration of Human Rights was adopted by the members of the United Nations. This year is particularly momentous, as it is the 75th anniversary of the Declaration’s adoption. What has this got to do with museums? The original Declaration includes a number of commitments (set out in 30 Articles) that are obviously related to the work of museums: the right to education, the right to information and freedom of expression, the right to take part in public affairs, among others. Museums often focus on one (article 27) that gets summarized as being ‘the right to participate in cultural life’, but that isn’t it’s full or proper title or scope: more correctly, it is that “Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.” Note especially the part about sharing in scientific advancement and its benefits: we will come back to this.

Now, the Universal Declaration is not perfect, it is 75 years old after all, and it reflected a world rather different than our world today. Hundreds of millions of people were still under colonial rule. The environment didn’t feature in the Declaration, as human impacts on the environment were not as massive, and not as obvious. Nevertheless, the Declaration has been supplemented by many additional agreements, many of which have a legal standing. However, the necessity of a decent quality environment has been recognized for decades. Indeed, it has been argued that most or possibly all of the 30 rights in the original Universal Declaration rely on a decent quality environment. Sustainable development really got going in the early 1970s, with the Stockholm Conference on the Human Environment, that recognized that people have a right to a decent quality environment. Fast forward 50 years, to 2022, and that right was finally formally recognized by the United Nations. More recently, the inherent rights of nature have been the subject of court cases and in some cases natural features have been granted rights, which helps protect them and to take polluters to court for environmental damage. 

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Paddy the Pangolin: Conservation of a Taxidermy Museum Specimen

This article is re-posted from a piece that appeared on the Amgueddfa Cymru blog page, 3 August 2023 with permission from the author.

Written by Madalyne Epperson, MA Conservation Practice student, Durham University – when on placement at Amgueddfa Genedlaethol Caerdydd – National Museum Cardiff.

Paddy in the Wild During the Cambridge French West Africa Expedition 1957 (Pan Golin 2018)

Natural history collections are often central to our understanding of evolution, population genetics, biodiversity, and the environmental impacts of pesticide use and climate change, among other things. For this reason, caring for these collections is of great importance. A taxidermy tree pangolin – named Paddy by the conservation team – was brought to Amgueddfa Cymru – Museum Wales in 2017 in need of attention. Paddy was collected on August 4th, 1957, by researchers during Cambridge University’s French West Africa Expedition. According to the expedition diary, Amgueddfa Cymru had asked the researchers to retrieve a pangolin to make a museum specimen, as was common practice at that time. The mounted pangolin was feared lost after the expedition’s drying tent went up in flames on August 25th, 1957. Paddy was terribly singed by the fire, which greatly disheartened the expedition team. It is perhaps for this reason that Paddy never made it to the museum when the expedition concluded. It was not until 2016/2017 that Paddy was found in Staffordshire in the home of one of the expeditions members and sent over to the museum.

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How to Reimagine a 117-year-old Diorama of Seabirds for a 2021 Gallery.

Written by Patricia Francis, Natural History Curator, Gallery Oldham. 

An account of ‘how to’ reuse an old, forgotten about diorama and turn it into a display highlighting a widespread and major environmental problem of today.

I first found this large sea stack diorama in a corner of a museum storeroom. The storeroom being in a basement of a building without lift access, so the display obviously had had a bit of a rough arrival to its resting place. It had been left uncovered for many years and was in a bit of a sorry state. There were a few birds left in position covered by plastic bags, sad remnants of a previous splendid display. It is a four-sided diorama and on one side at the base of the display is a ‘rock pool’ where a large sea worn pebble bears the following: Fred Stubbs, Oldham 1905.

After a bit of background research, I found this exhibit had four periods when it has been displayed. Firstly, in Oldham’s first Museum which opened in 1883 and where it was made – one of four original dioramas mentioned in a notebook and in the local newspaper the ‘Oldham Chronicle’ in an article of 1909 when it was described as: ‘A splendidly conceived stack, an isolated sandstone rock in the sea…provides accommodation on its ledges for a number of seabirds…makes up a beautiful picture at once artistic and scientific’. At this time a young Fred Stubbs was a leading light in the Oldham Natural History Society. Although the Museum was overseen by the Borough Council, the Society had been charged with the day to day running and creating natural history displays.

Very strangely three of these dioramas were coastal – sea stack, salt marsh and seashore, the fourth was woodland. Quite odd for a town museum like Oldham, far from the sea and where the largest local habitat is the Pennine and Peak District moorland! The maker, Fred, was born in Liverpool – so I wondered if his continued family connections with the coast had influenced this?

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NatSCA Digital Digest – November 2023

Compiled by Glenn Roadley, NatSCA Committee Member, Curator of Natural Science at The Potteries Museum & Art Gallery.

Welcome to the November edition of NatSCA Digital Digest.

A monthly blog series featuring the latest on where to go, what to see and do in the natural history sector including jobs, exhibitions, conferences and training opportunities. We are keen to hear from you if you have any top tips and recommendations for our next Digest, please drop an email to blog@natsca.org.

Sector News

GCG AGM and seminar – Building bridges between collectors and museums

The Geological Curators Group will be holding their annual AGM and seminar on November 28th – topics will include:

  • Many important specimens are held in private collections. How can museums gain an understanding of the scope of these collections and the needs of collectors?
  • How can museums gain the trust of collectors and start to find ways to work around the sometimes strict conditions imposed upon them?
  • How do collectors feel that museums can improve the way that they deal with such donations?
  • Lack of ‘proof of legal ownership’ or ‘documentation of permission to collect’ can be major sticking points for museums; however, such provenance was rarely required or given historically (or even more recently). How can we ensure that important historic specimens can be integrated into museum collections? Do we need a more flexible approach to the ‘ownership’ of geological specimens collected from casual sites that are not SSSI’s or other protected statuses?
  • What can we learn from previous experiences?
  • Can museums produce advice to help private collectors to document their collections and highlight or label specimens that might ideally end up in a museum in the future?

For more information and to register, see the GCG website: https://www.geocurator.org/events/162-50th-annual-general-meeting-and-winter-seminar

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How Do You Do Decolonial Research in Natural History Museums?

Written by Jack Ashby, Assistant Director of the University Museum of Zoology, Cambridge.

Subhadra Das and Miranda Lowe’s paper, Nature Read in Black and White: Decolonial Approaches to Natural History Collections (2018) acted as a wake-up call to our sector, effectively founding a discipline in natural history museums. In the five years since, a lot of work has begun to address the colonial legacies underpinning collections of animals, plants, fungi and rocks.[i] The principal aims of this work include telling more honest stories about the different kinds of injustice involved in the acquisition of collections; and addressing the fact that our museums have long been prioritising narratives elevating white individuals over everyone else. In doing so, it is hoped that a greater diversity of people will feel represented by our museums, thereby enhancing the relevance of the collections.

Natural history collections dwarf those of any other museum discipline, and unlike sectors which have been thinking about this for decades, the practices underpinning their creation have not traditionally prioritised recording associated cultural or social histories. Like others who felt inspired by Subhadra and Miranda’s call to action, faced with contemplating how to begin to unpick the stories hidden behind literally millions of ‘scientific’ specimens, it was fundamental to consider the question, where do you start with decolonial research in natural history museums? Obviously, there is no one answer, but I thought it could be helpful to list a few possible approaches. One underlying element is to recognise how colonialism and its framings have shaped the way that events took place – from major historical moments to minute individual acts – and how the stories about these events have been told.

Below is a list of possible starting points for research, with examples of what that could look like in practice (in reality most of these overlap). For me, each has something to say about the entwined human and environmental costs of the colonial project – questions that natural history museums are uniquely placed to address.

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